Oran turns its back on the bay. Fleeing the city or otherwise avoiding the anti-plague effort is tantamount to surrendering to the absurd death sentence under which every human being lives. Rieux continues to doggedly battle the plague despite the signs that his efforts make little or no difference.
Word games are ridiculous now. He has a powerful way of speaking, and he insists to the congregation that the plague is a scourge sent by God to those who have hardened their hearts against him.
Its death-dealing powers are so enormous that his imagination fails to respond to the figure of a hundred million deaths, a figure he reckons as the historical toll of plague.
This minute — now — this is what matters. Rieux feels something "soft" under his foot. There are numerous articles written in popular magazines satirizing our culture as mechanistic and materialistic.
In fact especially so, for this reason: After he contracts the plague, he is the first to receive some of Dr. His unimportance is particularized and then this nonimportance is generalized into symbolic significance. Often, the relatives plead with him not to do so since they know they may never see the person again.
He takes particular delight in regularly watching an old man coax cats beneath his balcony then, ecstatically, spitting on them.
He comes to Oran to research the sanitary conditions in the Arab population, but the sudden, unexpected total quarantine of Oran traps him in the city. Action is the only answer. This France, however, stands for Everywhere, a banal small place where history unfortunately takes a terrible turn.
Michel is the concierge for the building where Rieux works. In Chapter 8, the plague and municipal efforts play tick-tack-toe. The image expands and colors the chapter.
He speculates on a musician who continues to play his trombone after he knows that his lungs are dangerously weak. The emergency measures are insufficient. Before Oran is finally quarantined, Dr. Thus, they give meaning to their lives because they chose to rebel against death.
He misses his wife who is in Paris and uses all his ingenuity and resourcefulness to persuade the city bureaucracy to allow him to leave. The fact of absurd powerlessness is no reason not to act; Camus, for all his deep sense of the absurd, urges us to action.
Grand, in contrast, does not. The sea, of course, is a striking symbol for life, richly and lushly lived. The group of men gathered around the narrative represent, it feels, all human response to calamity. He is not there on business since he appears to have private means.
Paneloux joins the team of volunteer workers and preaches another sermon saying that the death of the innocent child is a test of faith. Camus is teasing our suspense. These people Camus describes are recognizable as Americans and as western Europeans.
As he watches and listens, it is the sea he hears most clearly as it murmurs with unrest, affirming "the precariousness of all things in this world.The doctor patiently fights the plague, but is often confused about his duty: he, as the doctor, is supposed to save people, but in the case of plague, he just has a chance to isolate them from the healthy ones, and record their death.
According to a research report by the Centers for Disease Control and Prevention, Oran was decimated by the plague in andbut all later outbreaks, in ( cases), (76 cases), and (95 cases), were very far from the scale of the epidemic described in the novel.
Free summary and analysis of the events in Albert Camus's The Plague that won't make you snore. We promise. Skip to navigation The Plague by Albert Camus. Home / Literature / The Plague / knack for happening all over this novel.
The volunteer teams in place, the narrator stops to tell us that this isn’t heroism, merely the action of. Rate this book. Clear rating. Heroism and sanctity don't really appeal to me, I imagine.
What interests me is being a man.” ― Albert Camus, The Plague. tags: downtrodden, genuine, humanism. likes. Like “The evil in the world comes almost always from ignorance, and goodwill can cause as much damage as ill-will if it is not.
In the first paragraph of the book, the ordinariness of Oran is contrasted with the extraordinary business of the plague, and on the surface the comment seems possibly only a bit of literary formula. Camus, however, had good reason for beginning his work with just such a contrast. While The Plague is a tale of absurdist philosophy, it is also a novel with living characters and a deeply human story, and Camus’ writing is potent in its imagery of suffering, despair, and courage.Download